Self-portrait (Ma Vie) - Marc Chagall
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Descrizione
A dreamlike lithograph by Marc Chagall, featuring fragmented imagery and symbolic motifs from his autobiography, Ma Vie.
This lithograph by Marc Chagall, titled Ma Vie, functions as a visual autobiography. Chagall frequently returned to the themes of his childhood in Vitebsk, his love for his wife Bella, and the circus. In this composition, the artist presents a fragmented, dreamlike narrative. The central figure, a large, blue-haired profile, dominates the upper portion of the frame, suggesting a psychological self-examination rather than a literal likeness.
Below this profile, a circular motif contains a smaller, nude figure, which acts as a recurring symbol of innocence or memory within Chagall's iconography. The surrounding space is filled with scattered, gestural marks and smaller vignettes, including a book inscribed with the letters M A V I E. This reference points directly to his autobiography, published in 1931, which chronicled his early life and artistic development.
The print demonstrates Chagall's characteristic approach to space, where figures and objects float without a fixed horizon. His use of colour is selective, relying on splashes of primary blue, yellow, and red against a stark white background. The line work is fluid and spontaneous, typical of his later graphic output where he sought to capture the immediacy of thought. By combining these disparate elements, Chagall constructs a personal mythology that prioritises emotional resonance over objective reality. The work is a clear example of his ability to weave together the mundane and the fantastical, a hallmark of his career in the mid-twentieth century.
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Self-portrait (Ma Vie) - Marc Chagall
Artist Biography
Marc Chagall
He was born Moishe Shagal in 1887, in the Pale of Settlement, the restricted zone where Jews were permitted to live in the Russian Empire. His father worked at a herring warehouse. The family was devout Hasidic. After studying in St Petersburg, he went to Paris in 1911 and immersed himself in the Fauvists and Cubists, absorbing their formal innovations without abandoning the narrative imagery of his childhood. The colour and the dreamlike floating figures were already there in Vitebsk. Paris gave him the structure.
He met Bella Rosenfeld, the daughter of a wealthy Vitebsk jeweller, and married her in 1915. She became his primary subject for the next three decades. The flying lovers that recur across his work, gravity-defying couples suspended above rooftops and villages, began with Bella. When she died of a streptococcal infection in New York in September 1944, penicillin existed but the entire supply was reserved for soldiers. He stopped painting for nine months. He continued to paint her memory for the remaining forty-one years of his life.
Picasso once said that when Matisse dies, Chagall will be the only painter left who understands what colour really is. The friendship ended at a dinner at Chagall's home in 1964. Picasso asked when he was going back to Russia. Chagall replied: after you, I hear you are greatly loved there but not your work. They never spoke again.
His late stained glass commissions are among the strongest work of his final decades: the Peace Window at the United Nations, the twelve windows representing the Tribes of Israel at the Hadassah Medical Centre in Jerusalem, and windows at Metz Cathedral. In 1964, Andre Malraux commissioned him to paint the ceiling of the Paris Opera, a decision that provoked fury from critics who objected to a Russian-born Jewish artist working inside a French Baroque monument. He lived to ninety-seven.
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